Erasure Live!

Erasure
Park West, Chicago
Thursday, May 18, 2006

Any Erasure concert veteran can attest to an overblown spectacle loaded with pageantry, dancing, costumes, and club beats. A visit to the Chicago Theatre last year supporting Nightbird was evidence of that very vibe, bringing two sold-out crowds to their feet within seconds of singer Andy Bell and arranger Vince Clarke taking the stage. But this time, the mood was different and quite uncharacteristic for Erasure appreciators, scaling back to the much more intimate Park West and ditching all the previous props for a remarkably introspective set.

No, the dance duo isn’t officially hanging up its synthesizers and ABBA-esque outfits, but simply exploring the much softer, slightly Southern, and entirely acoustic side of its catalogue. It’s ajourney traced throughout last month’s Union Street (Mute), which is an unplugged collection of re-recorded album cuts and rarities anchored in subdued arrangements and simplicity. Of course anyone who entered the packed venue was forwarned of the concert they’d be getting, though it was still uncertain how the group’s greatest hits would translate into this context.

Aside from the main pair, Erasure was joined by two supporting singers and a backing band consisting of Smith Curry (pedal steel, dobro, banjo), Richard Hammond (acoustic bass), Ben Wittman (percussion), and Steve Walsh (guitar, mandolin). The unit settled in easily with a deuce of country-soaked newbies before presenting the more streamlined pop nugget, “Victim Of Love.” Luckily the familiar favorite (with the occasional steel guitar sputtering) brought more of the typical Erasure elements into the mix, comforting those concerned such cheerful selections would be omitted. Its inclusion also appeared to warm everyone to additional Union Street inclusions, such as the almost operatic “Love Affair” and the twang-twisted “Alien.”

Throughout the next hour, the troupe continued alternating personalities, sewing it together through the common contexts of acoustic instrumentation. Surprisingly, “Oh L’Amour” and “LoveTo Hate You” worked in the thinned-out format, confirming they were solid songs to begin with and didn’t need to stand behind a wall of pulsating beats to connect. Though not nearly as obligatory, “Rock Me Gently” achieved similar heights thanks to old-time gospel flavor propelled by the soulful accompaniment of background singers. Set finale “Chains Of Love” and encore “A Little Respect” fit hand-in-glove with the evening’s theme, surging with sugary choruses and a sea of voices united in arguably the group’s two greatest commercial breakthroughs.

Though rating this tour against its precursors would be like comparing apples to oranges, it was still filled with the emotion and excitement Erasure typically delivers. If anything, this outing was perhaps better than ever in showcasing Bell’s distinct pipes, while reminding all of Clarke’s true songwriting genius. (After all, he was also integral in the early stages of Depeche Mode and Yaz). While Erasure will probably return to its pop radio roots come the next outing, this trip down Union Street was a discovery-filled detour that didn’t need to rely on decadence to prove its point.

— Andy Argyrakis

Category: Live Reviews, Weekly